潘鸿海:此生织就江南梦

潘鸿海在2012年1月完成的新作前 Pan stands in front of his newly completed oil painting in January 2012.

今年的早春二月，寒气逼人。地处繁华地段的上海美术馆内，却是一派暖意盎然景象：巨大的展厅内，60余幅油画筑就了一个美妙的江南梦境；如潮的人流云集展厅，沉浸于气势恢弘的“江南”梦里。２月１８日，当今中国画坛江南题材油画独树一帜的代表性人物、年届七十的浙江画院名誉院长、著名艺术家潘鸿海大型作品展“江南忆”隆重拉开帷幕。

水乡忆恋，织成江南梦

潘鸿海，出生于上海梅陇水乡小镇。年少时在苏州求学，长大后考入了当时的浙江美术学院附属中学，几年之后又从浙江美术学院油画系毕业留杭从事出版工作。后来又到浙江画院从事美术创作。从上海到苏州到杭州，江南最典型的人文地域风情给他的青春记忆刻下了不可磨灭的印象。更巧的是，他的姓名都与水有着密切的关联，于是这次的展览海报也荡漾着江南的秀水。提起举办“江南忆”作品展的初衷，潘先生说：“今年正好是我的70岁生日，我想把我的思乡情怀和我这辈子的创作，向上海的父老乡亲作个汇报，表达我的感谢。”

从小生长于江南，被温润如水的江南文化浸润和滋养着的潘鸿海画中描绘最多的那种白色长裙，其实就是中国古代在江南地区流传千年的“西施裙”样式。为了将这些人文的印象长久保留，他始终以最诚挚的艺术激情描绘着心中的江南，

STARDOM名家风采

笔下的油彩也始终流淌着那一份让人倍感亲切、纯净而又浓烈的江南情韵。“那时，常看到村里的姑姑婶婶穿着红肚兜乘凉，也常看到她们端着木盆举着木槌到河边洗衣，这些小时候的记忆，整个地贯穿在我的创作生命中，我创作这些作品只是想最真切地反映自己的家乡情怀。 ”

油彩江南，凝铸中国魂

正如潘鸿海先生所说，最初只是抱着对故乡的眷恋而创作，无法预料这一切终将给他带来什么。自1986年潘鸿海的油画《囡囡》参加全国展览并被中国美术馆收藏之后，系列作品《姑苏行》《江南行》相继问世，广受好评，奠定了他自己的艺术风格并逐渐受到收藏家们的热捧。然而，面对扑面而来的赞美和盛誉，潘鸿海没有任何张扬和自满，一直孜孜不倦地探索表达清旷怡人江南风景、灵秀温婉江南风情。面对关于创作动能的各种追问，他只有简短而有力的几句话：“我喜欢画画，我喜欢画江南！画了几十年，还是画江南！江南永远也画不完！ ”

潘鸿海画中的水乡村镇，气息清新，风轻光柔，流布着氤氲的水气和淡雅的朦胧，自然又娴熟地融入了印象派和西方写实主义的风格。中国美术学院院长许江曾说，西方油画艺术与中国本土油画语言的结合上，潘鸿海作出了突出的贡献。江

水乡晨雾 Morning Mist at a River Town, a painting by Pan Honghai

又回外婆家 A Visit to Grandma, a painting by Pan Honghai

南的气质，如同南方那细极了的雨丝飘逸在西方油画的厚重且有着强烈的视觉冲撞感的空间。用油画表现江南，是艰难的油画本土化命题。数十年的执著追求，潘鸿海本着对江南的最真挚、最细腻的解读，探索出了一条唯美、诗意的江南题材油画创作道路。今天，他笔下呈现的不仅仅是一幅幅鲜活生

良渚玉馨（列入浙江省重大历史题材美术创作工程）

This is Pan’s painting about Liangzhu, a suburb of Hangzhou, where a civilization once prospered. This painting is part of a provincial project to visualize the province’s history.

动的水乡风情图像，更是一个个痴守住了最深层中国文化内涵的江南意境。

从1973年创作的《母女肖像》《红妆少女》到《摇啊摇》，又从《古仪沉香》系列到《外婆家》，再到历时一年绘成的巨幅新作《绣江南》……一群群清雅娇羞、温婉灵秀的水乡女子婉约地从画布中缓步走来……从最初的描情绘景，到后来的叙事达意，他的创作近几年正发生着升华。2009年1月，当列入“浙江省重大题材美术创作工程”的《美丽洲良渚――中华文明之光》惊艳于世人的时候，这幅跨越了6000年时空的巨作以不凡的艺术气度与深厚文化底蕴，诠释了一个极富感染力的远古文明之下的本色江南。为创作这一巨制，潘鸿海花了近一年的时间研究和收集素材，用他自己的话来说“查阅的资料叠起来差不多和身体一样高”。跑了良渚、嘉兴、杭州、上海等地四五个历史博物馆，走访了当地许多这方面的研究专家，听他们介绍良渚的历史。甚至长时间地站在良渚遗址之上，去体会和感悟远古的景象。才终于将这一个宏大的“江南远古文明”场景展现在观众面前。

这样的一种艺术创意精神，与其说是艺术家在用画笔描摹江南的钟灵毓秀，不如说是艺术家用心灵守望着这一块充满诗情画意的江南人文厚土。

父女情深，传承艺术根

在这次“江南忆”展览上，还有一个吸引人的亮点。潘鸿海的女儿、中国美术学院国画系博士、讲师潘汶汛也于同期举办了一场个人展览。与“江南忆”的主题呼应，她的同期新水墨国画展命名为“浣溪纱”。

自幼酷爱绘画的潘汶汛，没有因为父亲的盛誉而循着江南油画路子走，她选择的艺术创作门类是中国画。她说，创作之中，她所追求的是线条与笔墨赋予可见形象联想之外那更深沉的意味。作为感恩，也作为祝贺，她将自己最新创作的新水墨系列40余幅作品组成一个展览，为“江南忆”添上一抹空灵、神秘和美妙的清气。正如潘汶汛曾撰文描述的那样：“不确定的交换沸腾才是美妙。 ”于是展览中便飘散着中国艺术的清气，由江南油画中来，在当代水墨里弥漫。而我们有理由相信，这一场美妙的展览，是潘鸿海先生和他的女儿奉献给江南大地一段可以铭记的佳话。

Master Paints Dream Scenes

of South

By Ah Tong

A dream of natural and cultural beauty of the south of the Yang-tze River Delta is now on exhibition from February 18 through 26, 2012 at Shanghai Art Gallery. Pan Honghai is the dreamer and the 60-plus oil paintings on display are the dream stuff.

The 70-year-old Pan is the honorary president of Zhejiang Paint-ing Academy and a master of oil painting who works heart and soul to painting the legendary beauty and culture of the river area in the south of the Yangtze River Delta. Born in a river village in a suburb of Shanghai in 1942, Pan studied in Zhejiang Academy of Fine Arts (the predecessor of present-day China Academy of Art) from 1962-1966 after studying at the affiliated middle school of the academy. Upon graduation, he entered a publishing house in Hangzhou and later he joined Zhejiang Painting Academy.

As he has been embraced by the beauty of rivers and ponds of the south all his life, he embraces the beauty in return. It is only natural that his art focuses on the scenes he is familiar with all his life.

In 1986, his painting “Little Girl” received very good critical re-view at a national exhibition and it later went into the collection of China National Art Gallery. This prize-winning artwork became the first of his later successful artistic explorations, which have become popular with audience and collectors.

Pan started painting women in the south of the Yangtze River Delta very early his career. In 1973, he painted portraits of a mother and a daughter. The memories of childhood years in villages and towns became alive in his artistry. In January 2009, he created a huge painting that traced the roots of Liangzhu, prehistoric remains of the 6,000-year-old ancient civilization in a northern suburb of Hangzhou.

His daughter Pan Wenxun, an artist with a PhD degree, does not follow her father’s oil painting style. Instead, she chooses the tradi-tional Chinese painting as the means. She is enamored of the same natural and cultural beauty of the south of the Yangtze River Delta. Her solo exhibition runs in parallel with her father’s solo at the same gallery, featuring the same regional idyllic dream stuff. Her paintings are a series of 40 plus portrayals of the region, dream and reality and a lot of beautiful things between them.